Director/co-writer Michael Mann's 'The Last of the Mohicans' is a soaring story of transcendent love, an authentically detailed recreation of a turbulent era in U.S. colonial history and an exciting saga of flintlocks-and-tomahawks warfare. Daniel Day-Lewis (as Hawkeye) and Madeleine Stowe (as British transplant Cora) are lovers caught up in the tumult of the French and Indian War in this 1992 Academy Award winner set to a rapturous score by Trevor Jones and Randy Edelman. The tale itself is a personal touchstone for Mann: the 1936 screen version was the first movie he recalls seeing as a child. It's hard not to detect a sense of boyhood wonder in Hawkeye's outsized heroics. Here, Mann augments that with a bravura style and sweep that shows why he's one of today's most electrifying moviemakers.
Tarzan dressed up in Merchant ivory finery. Dim.
- The Last of the Mohicans review by BW
Michael Mann's 1992 'Last of the Mohicans' displays much that is wrong with blockbuster film-making of its time. The period costumes and scenic photography may be celebrated. The script is terrible. Daniel Day-Lewis articulates some fine leaps through jungle but gets little chance to act. Madeleine Stowe deploys a bemused 'sad, and wistful' countenance with grace throughout. Such are the roles for men and women: man leaps; woman looks wistful. Those Americans native to the country before the English and French arrived are a pretty bad bunch but for these three mohicans who go out of their way to aid the white settlers. One story-line in here, reminiscent of a certain Dickens tale, is allowed to occur without the audience even noticing it. 'Last of the Mohicans' hints at subtlety early on but progressively worsens before reaching an ending that might be from a b-movie. Dim.
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